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Matt's avatar

I just joined this group and have no experience reading philosophy.

It occurs to me the evidence for Mumford's "mirror" thesis could be found in literary and art history. How people wrote about or portrayed themselves might be correlated to the development and spread of mirrors. For example, Shakespeare's sonnet 3 uses three images of glass (mirrors and windows) in a poem about how we're going to die and only live through our children (more or less). Is this evidence of introspection? I'm not sure. People have been thinking about dying for a long time.

I also googled around and found a couple of books that could shed light on this: "The Mutable Glass" by Herbert Grabes and "The Self Portrait: A Cultural History" by James Hall.

The description of Grabes' book reads in part:

"This 1982 book was the first major and comprehensive survey of mirror-imagery to be found in medieval book-titles and English literature from the thirteenth to the end of the seventeenth century... Professor Grabes not only traces the shifting historical usages of the mirror (as the metaphor's 'vehicle') but also studies the metaphor's structural function in individual works... by investigating the function of a metaphor central to literature over a long period of time, he reveals the interplay between cultural history, the changing attitude towards life and the world, and literary imagination."

The introduction to "The Self Portrait" says that "Conventional wisdom has it that... good quality crystal glass mirrors... [led to] the irresistible rise of self-portraiture." But it later discounts that idea, writing "[d]evelopments in mirror technology are largely irrelevant, and this 'mirror myth' has clouded discussions of [self-portraits]."

Anyway, that's all I got: some vague ideas and possible sources for further study, if you're inclined. Don't expect any better!

C.J.'s avatar

Re: evidence for increased introspection / focus on the self: I recently re-read Anna Kornbluh's book IMMEDIACY, and there she tracks the popularity of first-person novels as evidence for a related concern. As a parallel move I'd offer tracking the proliferation of the first-person (or the sheer frequency of the pronoun "I") in published works (poems especially) alongside Mumford's glance at portraiture and a brief mention of romantic poetry; there's collectable data there that could help prove the point a little bit, I think.

Second, you highlight the effect the greenhouse had on a grower's relationship to the seasons -- I've been struck by how profoundly technology and machinery has altered our relationship to time. First the clock created a new definition of time itself, essentially, but from there we as a species have had so many touch-points with time made less organic and more machine-like: the greenhouse, the mine (forgive me, I'm nearly done with next week's chapter, so, ya know, spoilers), even "the rhythm of movement disappeared; within the factory the quick staccato of the machine displaced the organic rhythms, measured to song, that characterized the old workshop."

I'm not sure if he'll dive into it, but I'd be curious about how all of this invention directly changed the sleep habits of different cultures.

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